Authors Note:
The ‘The Word Is Nine: Crop Circle Metaphors of 1997
(Part 1)’ was originally written, copyrighted, published, and
distributed by myself, to many National
and International magazines and journal editors in June 1998.
It was published in ‘The Center for Crop Circle Studies’ journal
‘The Circular’ in September 1998
(Issue 32), and was soon plagiarizedthereafter, by
a competitive, self-promoting and profiteering Crop Circle
researcher, who has to date, taken and publishedfor seven years my original written research as ‘his
own’, without giving due reference and credit to his source,
despite repeated requests.

The same person is receiving growing attention and
money citing specific information contained in ‘The
Word Is Nine (Part 1)’, including very significant
and ‘groundbreaking’ observations I first made in 1990, and have
disseminated since to Crop Circle researchers and the public,
and published in 1998, linking
the physics and metaphysics of ‘Sound’ and ‘Ultrasound’
to non-manmade
Crop Circle creation.

The plagiarism has gone on too long to remain un-addressed!
This is an attempt to set the historical Crop Circle
research record straight!

Ed Sherwood – March 2005

Click to read more.

THE WORD
IS NINE
Crop Circle Metaphors of 1997
(Part 1)BYEd Sherwood

“In the beginning was the Word,
And the Word was with God,
And the Word was God.”

The Gospel According to John 1:1

Nine
months after the spectacular East Field ‘Crop
Circle Pictogram’ of 1990, I discovered that the
‘Intelligence’ behind its creation, was the ‘Infinite
Intelligence’ of God, also known as; ‘The
Nine Principles & Forces’ of God’; ‘The Nine
Creation Gods’; and ‘The Nine Dragons’ (Ref. 1, 2, & 28).

Copyright 1992 Maria Ward

Represented in the timing, placing, geometry,
mathematics, and design symbolism of many
formations, ‘The Nine’ have been symbolized in
every crop circle season since the early 1980s,
including 1997.

THE NINE

‘At
exactly 9 P.M., a deep sonorous voice came out of Dr. Vinod’s
mouth, totally unlike his own high pitched, soft voice, saying
in perfect English without an accent:

“M
calling: We are Nine Principles and Forces, personalities
if you will, working in complete mutual implication. We areforces, and the nature of our work is to accentuate the
positive, the evolutional, and the teleological aspects of
existence.”’

It was
December 31st 1952, and the first of many ‘channeled’
communications, very relevant to crop circle research.
Documented in three books, spanning more than 20 years, the
‘Source’ of the communications is also referred to as ‘The
Nine’, and ‘The Infinite Intelligence’ (theElohim
in Hebraic tradition). One of The Nine, represents the
‘Spokesman’ (the ‘Voice’) of The Nine, and was giventhe name ‘Tom’, by the ‘transceiver’ (‘Channel’) Phyllis
Schlemmer (Ref. 1, 2, 3).

When
Andrija Puharich asked Tom in the late 1970s ‘could you explain
the profound mystery: Why there are nine basic manifestations
of, I guess we should use the word ‘God’, for lack of a better
term?’

Tom
replied:

‘Nine
is complete. Everything is nine. In your world you have said
seven so many times, when everything is truly nine. There are
nine chakras, which are the nine principles and nine elements of
what you call God. There are nine bands around this planet
Earth. There are nine etheric bodies, and the purpose of growing
your etheric bodies or going through your transformations and
transitions is to attain the nine etheric bodies. Nine is a
complete number, it is whole. When you go over nine it cancels,
it becomes one, and nine is complete. This does not change. But
remember this: We ourselves are not God. All of you and all of
us make God.’ (Ref. 2, 3)

TOM

The
ancient Hieroglyphic sign for the mouth, is in the shape
of a seed, and is the same sign used to write the name of the
‘Supreme Being’; Re (the Egyptian ‘Sun God’), who, as creator,
(or Spokesman) was known as Atum-Re (Ref. 4).

‘Tom:
“I am Tom. I am the spokesman for the Council of Nine. In
truth I am Tehuti. Yes. I am also Hamarkos, I am also Herenkar,
I am known as Thomas and I am known as Atum.” (Ref. 3)
‘Atum’ was the
primary ‘Creation God’ of the first religion of
Egypt. He was symbolized as the Divine ‘initiator’ of Creation,
who in a state of blissful total ‘Self’ contemplation (Infinite
Conscious Awareness), provoked an ‘ejaculation’ (the ‘Word’),
which caught in his throat (symbolizing the eternal cycle, or
perpetual cycle of Creation, and the Word, from the ‘speech
center’), causing him to cough out his own seed, giving birth to
the Universe (‘And God said, Let there be light’, Genesis
1: 3, Ref. 5). By this act he produced ‘Shu’ and ‘Tefnut’ (Yin
and Yang; the ‘division of Unity’ into opposites, in Chinese
tradition), who together with himself, form the first Triad
of the Nine Great ‘Neteru’, or ‘Principles of
Creation’, of early Egypt (Ref. 4).

M: “To be
simple,we
(the Nine) accentuate certain directions as will fulfill the
destiny of creation.” (Ref. 1)

By the
early 1980s, crop circle researchers began to focus serious
attention on the crop fields, and as we did, so did the
Neteru; the Nine; the Infinite Intelligence, begin to appear in
the fields.

DIVINE COMMUNICATION BY
OTHER MEANS

Tis
time for me to Lay a Ghost
The puzzle that has been the most-
Talked about Pillar to Post.’

Quoted
from the White Crow ‘Message ’of March 25th 1989 (Ref. 6 & 28)

In
June 1989, Colin Andrews organized the first
sophisticated Crop Circle Surveillance Operation named ‘White
Crow’, at ‘Cheesefoot Head’ in Hampshire, England. Twenty
four hours a day, for eight days, the fields and hills around
this location were watched for ‘Signs’ of circle creation, with
no new formations to report anywhere in the country.
However, as dawn lifted on the morning of June 18th, the
ninth day, nine participants could not dispute
that ‘they’ had been there, for only a few hundred yards from
where a strange ‘trilling’ sound had last been heard, a new crop
circle had appeared! (Ref. 6)

In
addition to a new crop circle and the trilling sound recorded on
tape, organizers of White Crow had also received signs of a
different kind; by post, in the form of twohand written
‘Messages’, precognitive in content. The first, dated
March 25th, and received on the 31st, contained details of
events that would unfold exactly on June 18th (Ref. 6):

‘We came to you with Moon on highAnd gave you Signs up in
the sky,
We Sang Our Song for ‘No-one else’
Machines have played our very Self.’

Full
moon was June 19th, and the signs included a bright luminous
‘object’, reported by Ron Jones, above six of the final nine
White Crow participants.

Many clues to the ‘Authors’ identity appeared in the text,
including references to; ‘Dragons’, ‘Crows’, and the signature:
‘Juno Dixhuit’ (Ref. 6). Another clue was their clairvoyant, and
sometimes precognitive content, a characteristic of the Nine
communications (Ref. 2), and an occurrence within crop circle
design symbolism (Ref. 28).

SIGNS
OF THE SOURCE

‘Dragons will not Sing for those who will not hear,
Nor Shine for eyes that will not see.
Let us Remember Dragons.’

Quoted from the ‘Source’ of the White Crow Messages, dated
March 26th 1990.

In
Eastern traditions Dragons symbolize the transformative
forces, and energies, of the Earth and Cosmos. They are creative
and destructive, subtle and powerful, pure and elemental.

‘Dragons Watched
when time was born out fire and darkness,
Dragons Live for ever Men do not.’

(White
Crow Message of March 25th 1989)

Thought to be present at the worlds ‘creation’, and essentially
benevolent towards humanity, they were revered and sometimes
feared, especially when associated with stormy weather.

‘Check your charts
when you have time, Same Patterns are up in the sky.’

(Quoted
from a later White Crow Message of 1989).

The
‘charts’ being referred to, by ‘Juno Dixhuit’, were
meteorological (weather) charts. The ‘Patterns’,
were crop circle pictograms, depicting International
Meteorological symbols, and weather conditions, conducive to
crop circle creation. The best known example being the East
Field pictogram of 1990 (Ref. 28).

In China Dragons have been associated with ‘wind and
water’ (two known ‘elements’ of the non-manmade circle
creating process), and the subtle magnetic energy of the Earth
(a third), for at least 2000 years. And in the ‘Forbidden City’,
the world’s largest palace complex, in Beijing, Chinese emperors
reveredOne of Nine Dragons: ‘The Golden Dragon’,
or ‘Cosmic Dragon’, above all else. Chinese folklore
says: “He wanders in the wilds among the heavens. He comes and
goes, and at the proper season, if there is perfection,
he comes forth, if not, he remains unseen.” (Ref. 13 & 28)

The Sun, ‘wanders in the wilds among the heavens’, as the
Solar Wind;
the Cosmic Dragon. He comes and goes, like tidal forces, that
constantly bathe the Earth’s magnetic field in a stream of
electromagnetic energy, and at the proper season; Summer,
when the Earth receives the most intense sunrays, if there is
perfection (the right Cosmic/Earth conditions, including
weather conditions), he comes forth (we might witness an
atmospheric plasma; an ‘Earthlight’; a ‘Dragon’), if not,
as folklore says, he remains unseen.

Dr
Terence Meaden, a Meteorologist, brought to our attention in the
early 1980s,
the fact that certain weather conditions play a formative role
in authentic crop circle creation. ‘An essential prerequisite
for vortex generation seems to be a quiet air mass with good,
stable stratification which remains effectively undisturbed even
in the presence of a steady weak air flow.’ (Ref. 6) According
to folklore the Golden Dragon “waits for the wind and rain and
deports himself in the azure air” (Ref. 13 & 28).

Since
ancient times, Crows and Ravens have symbolized ‘The
Messenger of the Gods’, a statement that took the
form of a crop circle pictogram in August 1992, at ‘Old Sarum’,
near Stonehenge (Ref. 28). If taken not only metaphorically but
literally, as one 1989 White Crow message suggested (below), the
source of the 1989 White Crow messages and many non
manmade crop circles, can be seen (collectively) in the form of
crows:

‘It has been Said that Crows Are black,One White you
Seek is that your tack.
If no white has neer been Seen,
Why spend this time for one Pipe dream.
If black they be that’s where be I,
So Simple flying in the sky.’

Who other
than ‘God’, and the Nine, could be literally ‘seen’ in this
form?

Juno,
Hera in Greek mythology, is synonymous with Creation, as the
Roman Goddess symbol of Births, Marriages, and
Deaths (and a theme spectacularly illustrated in the fields,
and the ‘Heavens’ in 1994, Ref. 29). Married to Jupiter,
Zeus in Greek mythology, Juno reflects the feminine
aspect of the male Godhead; Jupiter; Zeus, ‘the Supreme Deity of
classical antiquity, ‘Father of Gods’ and men’; Brahma, the
Hindu ‘Creator’ of the Universe, also represented as the
first in a divine triad (like Atum), with Vishnu; the
‘Maintainer’; and Siva, (or Shiva); the ‘Destroyer’, as his two
opposites (Ref. 7); Hor-em-Akhet (Harmarchis or Hamarkos, Ref.
23 & 3), ‘I am the day, and I am the evening, and I am the
mid-noon’, in other words, the Sun, symbolically ‘reborn’, as
the ancient Egyptians thought each morning, that dies in the
evening, and reaches its ‘zenith’ at mid-noon (Ref. 2 & 3); or
the Golden Dragon, ‘He can be large or small, short or long,
obscure or manifest, alive or dead’ (Ref. 13
& 28), and so on.

Dixhuit
is eighteen in French, or nine in numerology. It was June
18th (Juno Dixhuit), when researchers at operation White
Crow received a ‘response’ to the spoken request for a
crop circle (Ref. 6). Juno Dixhuit can also be ‘read’ as a
straight signature;‘Spokesman of the Nine’; the ‘Authors’
of the 1989 White Crow Messages.

I first encountered the messages with a friend (Vince Palmer) in
late July 1990 after meeting Rita Goold, an Internationally
known psychic and rare ‘materialization medium’ living in
Leicester at the time. Rita had served as a psychic medium
during Operation White Crow, and in late July 1990 was at
Bratton Camp, near Westbury, during ‘Operation Blackbird’
(organized by Colin Andrews and Pat Delgado), trying to gather a
small group of researchers together to continue a psychic and
interactive approach to onsite Crop Circle research. My friend
and I were at Operation Blackbird on the night of July 28th
for this very purpose, and quickly made friends with Rita.

The following afternoon, after we exchanged personal UFO
encounters, psychic experiences, and views about approaching the
Crop Circle phenomenon, Rita took us into her confidence and
showed us the actual 1989 White Crow messages, and several that
she and her husband (Steve) had received in 1990 (unknown to
other researchers at the time).

I learned later that for many years, and often with another
witness present, Rita had received materialized or ‘aported’
messages. Though not about Crop Circles, they frequently
included precognitive information. In 1989 the messages began to
include literal and metaphorical information (like that
reflected in genuine Crop Circle pictograms) about ‘Who’ and
‘What’ was really creating the worldwide Crop Circle phenomenon.
This continued in 1990, and as I looked over the messages I was
struck by several observations all at once. Rita, the psychic
‘channel’, by her own admission only understood part of the
messages content; they were precognitive; and my friend
and I meeting Rita was also referenced in one of them, in a
message dated June 20th, more than a month before we
actually met!

“The world will Scoff I said before
Then you’ll meet the open door
framed in all they have on wall”

The world ‘scoffed’ at the Crop Circle phenomenon on July 25th
1990, after Colin Andrews and Pat Delgado announced through the
International TV media that they had recorded on video camera ‘a
major event’, involving ‘orange lights’ above a field below the
Westbury White Horse and Operation Blackbird, preceding the
discovery of a new Crop Circle pictogram! However, it was soon
discovered to be nothing more than a hoax, perpetrated to debunk
serious research, the phenomenon, and ‘diffuse’ growing public
interest. Three days after the media frenzy at Bratton Camp
Vince and I met Rita for the first time (Ref. 6).

At Operation Blackbird Rita tried to gather a small group of
Crop Circle researchers together to continue a psychic and
interactive approach to the phenomenon, but without success,
until the night of July 28th, when my friend and I
arrived totally committed to that very purpose. We were the
‘open door’ for Rita, and framed on all of our walls (at my
apartment and at Vince’s parents house where he was living at
the time) was the proof! On my walls were illustrations from a
book of poetry I had written and illustrated about Crows
(Fig. 2), while on my friend’s walls were paintings he had done
of UFOs!

Juno
Dixhuit continued the Crop Circle messages in 1990 and I was one
of a very few people to read them.
The following year, after
copies of the 1989 White Crow messages were widely circulated at
a Crop Circle conference in Oxford, obvious hoaxed messages from
rehashed information found only in the 1989 messages
began to be received by various Crop Circle researchers
(including myself). However, the culprits of the 1991 hoaxed
‘messages’ hadn’t read any from 1990, which, after deciphering,
revealed a lot about what was really happening in the fields at
the time.

COCREATIONOver the course of
several hours, between the night of August 17th,
morning of the 18th 1992, I described to Mary
Bennett (Editor of the 1994 book ‘The Only Planet of Choice’,
Ref. 3) how the majority of non manmade pictograms were, in my
view, ‘Co-created’
from the Psychokinetic energy of Human Collective Consciousness;
The Nine; and natural ‘physical’ forces, and processes, of the
Earth and Cosmos. In a simplified sequence, beginning with a
26,000 year old cycle of the Sun (Ref. 37), that ‘peaked’ in
1990 (the most prolific year for crop circles to date), and
finishing with 90 degree plant bending by ‘Ultrasonic’
frequencies, I summarized what I had learned from nine
years research of crop circles.

Later that
day, on August 18th 1992 Mary and I entered the last formation
of the year, near Europe’s largest ancient sacred manmade Mound,
‘Silbury Hill’ in Wiltshire, England, speechless by what we
found: a giant pictogram depicting nine principle design
symbols; eight connected by a thin ring, and one in the center!
(Fig. 3)

With
multiple layers of cross referencing literal and
metaphorical symbolism, including features from previous
formations already identified in their meaning, and referenced
by myself during our conversation, the pictogram reflected:
‘HumanCollective Consciousness’ (mine and Mary’s
at the time); ‘InfiniteIntelligence’ (The Nine);
the physics and the ‘process’ of non-manmade Crop
Circle creation (by God), shared with Mary in the same
order hours earlier!

Reading
the pictogram in a clockwise direction, and like a downward
spiral, beginning at the 9 o’clock position (Fig. 4):

Charged
particles from the Sun (the Golden Dragon) reach out toward
Earth (the third planet), in the form of the Solar Wind
(the ‘Dragon’s foot’; the three clawed foot of ‘Tatsu’, a Dragon
of Japanese folklore, one and the same as the Golden Dragon,
also doubling as a ‘Crow’s foot’; and an ancient sign for ‘The
Messenger’ of the Gods). (Fig. 4 & Ref. 13 & 28)

Finishing
in the center, with the effect of another ‘Sun’ (Fig. 5):

An authentic Crop Circle upon the land, materialized from the
‘Sound’ of an atmospheric ‘ball
plasma’ (Fig. 6), frequently witnessed in
association with the phenomenon, and metaphorized in the Silbury
Hill pictogram in the form of an ancient sacred symbol for the
Sun and Earth (Fig. 5).

If ‘read’
as suggested, as a simple and complex series of visual
metaphors, the Silbury Hill pictogram of 1992 gives a 3-D view
of the ‘physical’ process of authentic Crop Circle creation, in
addition, to symbolizing the Nine Creation Forces together with
the ‘Spokesman’ in the center. ‘From this axis, like the hub of
a wheel, everything extends, radiates and rotates spirally. The
entire Universe, with all its spatial and temporal states, is
but the spiral manifestation of the still center’ (Ref. 8).

THE
UNMOVED MOVER

Michael
Green (Founder Member of
The Center for Crop Circle Studies) likened the 1992 Silbury
Hill pictogram
to an ancient Mandala: ‘It takes the form of the most
profound Indo-Aryan symbols;
‘The Great Turning’, as it is known in Prehistoric Europe,
and in the East as the ‘Dharmic Wheel’ (Ref. 30).

A Mandala
is a sacred visual symbol (a geometric cosmogram) used as
an aid to meditation in Buddhism and Hinduism’ (Ref. 9).
In India, mandalas based on multiplications of nine
represent the Universe, spiritual power, and
enlightenment.

The Dharma
Chakra (Dharma meaning “the Law” and Chakra meaning “Wheel”) is
an eight-spoked Wheel sign (nine if you count the center),
symbolizing “the Wheel of Life”, or “the Cycle of Life”, as
viewed through “the Wheel of Law” (Natural Universal
Law).

John
Haddington (Founder Member of The Center for Crop Circle
Studies) wrote in ‘The Circular’: ‘“The Celtic Shaman” by John
Matthews. Turning the pages I came to a diagram depicting the
wheel of directions and elements, or the ‘Eight Paths
between the Worlds’, and was intrigued if not astonished to see
that this was essentially the same diagram as the formation that
had recently appeared by Silbury Hill.’ (Ref. 31)

Each detail of a Mandala (Sanskrit for “Circle”) is designed to
help focus the mind until its true nature (its
transcendent reality) is experienced. As the ‘Eight Paths
between the Worlds’, the Dharma Wheel sign is identified with
attaining eight different states of Consciousness,
focused by one, the ninth; the principle of the
‘Godhead’ (Peace), the Spokesman of the Nine, in the
center.

Tom:
‘I am the balance. And when I say ‘I’- I mean because I am an
emissary for the Nine. It is not I, but it is the group. And the
principle of the Nine is infinite intelligence, and what we try
to bring to this planet is this type of intelligence. We are of
nine principles of the Universe, yet together we are one. We are
separate and one at the same time. Each represents a portion of
energy, knowledge, wisdom, love, kindness, technology, and in
continuity it goes on until each portion of a spiral is composed
of all that is important to bring complete understanding to each
atom, until it becomes one with us. There are in actuality
multiplications and more (like variations on an infinite theme),
but in principle there are nine.’ (Ref. 3)

Michael
Green continues:

‘This
statement (the 1992 pictogram) of the structure of Ultimate
reality has the eight symbols of Being and Becoming on the
points of the directions. In the center is the ring and dot
symbolizing Deity, further defined as the manifested
state of God by being quartered.’ (Ref. 30)

Since ancient times the sign of a cross, circumscribed by a
circle has represented ‘The Sun’. Known as the ‘The Sun
Wheel’, ‘The Sun Cross’, and ‘Wuotan’s, or ‘Odhinn’s
Cross’, used to mark the site of a holyplace (a place of
concentrated Cosmic and Earth energy), it forms the basic
structure of the Celtic/Christian ‘High Cross’, reflected
in crop circle design symbolism since the early 1980s (Fig. 7 &
Ref. 6).

Often
found on Swedish Bronze Age
Alters, the Sun Cross sign also appears
in the earliest systems of writing, used by the Egyptians,
Hittites, Cretians, Greeks, Etruscans and Romans (Ref. 11). From
the 1st to the 3rd epoch, it was used in the Greek alphabet to
represent the number nine, and if turned 45 degrees, so
the
same lines cross diagonally,
it also symbolized nine in
ancient Semetic cultures (Ref. 12).

VARIATIONS ON THE SAME THEME

‘Where I be is All
Around, Listen hard, You’ll hear my Sound.

(Quoted
from a 1989 White Crow Message)

There have
been many design variations on the theme of the ‘Spokesman
of the Nine’, including:

Fig. 8 Crop Circle Pictogram Variations
Diagram
Copyright
1998 Ed Sherwood/Millennium Research
Fig. 9 TheAssociatedSound Waves from a
Vibrating Tuning ForkBased
on an Original Diagram
Copyright 1969 H.J.P. Keighley & F.R. McKimThe last and most
intriguing pictogram of 1989 appeared on August 12th, not far
from Stonehenge, near Winterbourne Stoke, in Wiltshire. As if in
‘response’, to question the ‘ideas’ of Dr Terrence Meaden
(originator of the ‘Plasma Vortices Theory’- Ref. 6, 28), and
others, that “Single rings around single circles always
rotate in a sense opposite to that of the interior”, a pictogram
formed in wheat with a lay of bent plants flowing in four
different directions, set at 90 degree angles to each
other! It was recognized as an ancient (universal) symbol of the
Sun, and a sign of ‘good fortune’; a ‘Dragon’s blessing’ (Fig.
8, Top left, & Ref. 13).

As if to remind us of the central role that ‘Sound’ plays (and
the Spokesman) in authentic crop circle creation, a pictogram
symbolizing the effects of Sonic energy formed in wheat,
on June 6th 1990, on Longwood Estate, near Chilcomb, close to
the site of operation White Crow of the previous June. If the
formation is ‘rotated’ 45 degreesinvisible lines
(like inaudible sounds) create the sign of the Sun Cross
(Fig. 8, Top right).

Reflecting the ancient cultures of the land it formed on; an
exact representation of a diagram containing ‘Nine
Runic Elements’ (with Earth in the
center), appeared near Skyllberg, in Sweden, in August 1993
(Ref. 14). It was the most impressive of several pictograms to
be found in Scandinavian countries that year. Thanks to Kris,
half Swedish by birth, finding a ‘Runic’ connection in the 1997
formations, I later discovered this one (Fig. 8, Middle left).

Spanning
some 300 feet in diameter, a pictogram formed in wheat, at
Martock, near Yoevil, in Somerset, on July 16th 1996. Like a
variation of the High Cross, or Celtic Cross (also known as the
Iona, or Ring Cross) design, it can be described:

From the
center of the formation extends a Sun Cross sign in four
directions. The thicker central ring and circle (an
ancient Sun symbol by itself), represents the sun we see; the
‘physical’ sun, while the implied Sun Cross ‘behind’ the sun,
the four thinner ringed circles, reflect the ‘invisible
Sun’; the High Cross; the ‘purest light, that is a composite of
all, that creates all’, Tom said, in one communication; the
realm of ‘Divine Spirit’, the ‘Creator’, associated since time
immemorial with the sign of the sun (Ref. 3).

As a
traditional symbol of the unity of Heaven and Earth
(‘As above, so below’), the High Cross sign also represents
God, and the purest of man; such as the Being of Christ;
or Buddha (Sanskrit for “the Enlightened”), sometimes
depicted in the center of the Wheel of Law (Ref. 9).

Counting
the extended ‘hemispheres’ of the Martock formation (like a
‘multiplication’ on the same theme of the Sun Cross), as eight
‘elements’, or four ‘pairs’ of elements, the pictogram reflects
nine, if you count the ninth symbol (the central Sun
Cross); the center of the 1992 Silbury Hill formation, reflected
in ‘reverse’, as one.

Two diagrams can be found in the book ‘Introduction
toAstronomy’ closely associated in design and meaning to the
Martock formation (Ref. 15). Representing the motion
(oscillation) of the Earth around the ‘bary center’ (‘the
focus of the combined mass’) of the Earth/Moon
system, currently ‘considered to be more or less rigidly locked
onto the sun’ (the Sun Cross), the pictogram reflects the
‘transition’ between the three designs. (Fig. 10 & Ref. 37)

Fig. 10 Earth Oscillation
Diagram
Copyright
1954 Cecilia P Gaposchkin

Kris found
an almost identical design, in the book ‘Christ
Consciousness’, symbolizing the fusion of the four elements;
fire, air, earth, and water,
within the center of Creation (Ref. 16).

What was
also interesting about this diagram was a six-pointed star,
a ‘Star of David’, drawn inside what would be the central ring
of the Martock pictogram. This was interesting because one year
later, this same geometry (six-fold geometry) would define many
of the non-manmade pictograms of 1997.

Amazingly,
the title of the book was first published as ‘Sunburst:
Return of the Ancients’, a very fitting title, and Sign
to associate with the Martock pictogram (Fig. 8, Bottom left).

The Sun
Cross sign, or ‘Wheel Cross’ as it is also known,
appeared again, in mid-July 1997 only a few miles from
the previous Martock pictogram, near Haselbury Pluncknet in
Somerset. Like its predecessor, emphasizing the four elements,
the Sun Cross, has also represented, since early times, the four
cardinal directions: North, South, East, and West (six,
if you include Up, and Down, through their common center). In
both modern Astronomy and Astrology, the same symbol represents
the planet Earth (Fig. 8, Bottom right).

Gae’a
(Gaia), or Ge was the ancient Greek Goddess symbol of the
Earth, and was described as the first being (like Atum)
that sprang from Chaos (‘Nun’ to the ancient Egyptians,
and another crop circle theme since the early 1980s). According
to one Creation story, ‘Gae’a, Erebus, and Lovewere the first of beings’ (the Divine Triad of Creation).
Like Juno Dixhiut, prophetic influence was attributed to Gaia,
and a powerful effect on plants! (Ref. 7)

Like a sign from
Gaia,and our Collective Conscience, a
pictogram was found at the land ‘development’/protest site, of
Laguna Canyon, in California, on March 9th 1996. It
consisted of three primary design symbols (the Triad of
Creation); one in the form of nine concentric rings;
another as five concentric rings (identified by a Native
American elder of the Chumash tribe, indigenous to the area, as
the number of ‘the Creator’, ‘the Great Spirit’, Nocuma);
and a third, in the form of a solar motif, a Chumash ‘Sun Staff’
symbol, and sun compass, created by fourteen radial ‘spokes’,
around two central rings, each spoke terminated by a small
adjoining ring, with one small ‘unattached’ ring nearby. The
total number of design elements came to 45 (9 + 5 + 14 + 17),
another 9 in numerology (Ref. 34).

Another
giant pictogram, continuing in the ‘footsteps’ of East Field
1990, attracting thousands of curious visitors, and heralding
things to come for the 1992 season, was the Grasdorf formation.
The largest pictogram to form in Germany to date it contained
nine primary design symbols; three connected by straight
paths (representing the Divine Triad of Creation, including a
Sun Cross symbol) and six unconnected, making nine (Fig. 11).

18
inches below the ground, in three of the pictograms design
symbols (identified by their accompanying arcs) three large
metal plates of extremely pure Gold (a sign of the
Golden Dragon I suspect), Silver, and Bronze
(another sacred triad), were unearthed, each containing the
complete pictogram design in relief (the opposite to the
embossed field design, Ref. 17).

Situated in the heart of Saxon Europe (Christianized from the
9th century A.D.), the Grasdorf pictogram appeared at the
foot of an ancient sacred Teutonic moot site, known as a ‘Thierberg’,
and included in the immediate vicinity the ‘Wuldenberg’, an
ancient Germanic site dedicated to Wuotan (Ref. 17).

Wuotan
was the Alfadhir-
‘the All Father’ of the Scandinavian Gods, also known as
Odhinn, who in ancient Germanic tradition became the ‘All
wise’ at the cost of an eye. His remaining eye was said to be
the sun! (Ref. 7) Interestingly, Juno in Scandinavian Mythology,
is ‘Frig’ga’ or ‘Frigg’; the Supreme Goddess and wife
of Odhinn (Ref. 7).

The
‘trilling’ sound recorded at operation White Crow, was later
analyzed by the University of Sussex and found to have a
frequency of 5-5.2KHz.

Sound frequency experiments, conducted on grains and
seedlings of Spring Marquis and Winter Rideau wheat,
during the 1960s by two biologists, Mary Measures and Pearl
Weinberger, revealed that depending on how long they had been
‘vernalised’ (chilled to shorten the growth period
between sprouting and seeding) wheat responded best to a
frequency of 5KHz! (Ref. 18)

On July 29th 1990 I entered a formation of three Crop
Circles in wheat, opposite East Field, and saw for the first
time plant stems bent at 90 degrees; in addition to their
natural bending, bent near ground level, without a break or a
crease (Ref. 28).

Later that night Rita Goold, Vince Palmer and myself, chose the
largest of three circles to sit in and listen and watch for
signs of the true circle ‘creators’. The weather was overcast,
and threatening to rain. After about an hour into our vigil,
around 12pm, Rita placed a tape recorder at the center of the
circle, and left it on ‘Record’ until it finished. When the tape
was played back later it included the sound of the wind, us
talking, and something else: a faint, high pitched, whining,
pulsating sound, that steadily grew in volume, until it was
the only sound recorded by the tape (Ref. 28).

I asked Paul Usher, a friend knowledgeable in electronics, how
this sound could have been recorded on good working audio
equipment, without being heard by us at the time. He proposed a
modulated magnetic field, perhaps a geomagnetic field. The
recording was the sound of a pulsing magnetic field, at a
frequency not audible at the time, impressing itself upon the
sensitive magnetic tape and recording heads of the tape recorder
used.

A much less distinct but very similar, inaudible sound, was also
recorded by Mary Bennett inside a pictogram that formed at
Ogbourne Maisey in Wiltshire, on July 10/11th 1991
(Fig. 12).

Fig. 12 Ogbourne Maisey 1991 Crop Circle Formation
Silhouette Drawing
Copyright
1991 Wolfgang Schindler
Michael Green noted in the book ‘Crop Circles; Harbingers of
World Change’ that ‘This configuration (referring to the 1991
East Field Crop Circle pictogram design), but much larger, was
repeated nine days later at Maisey Farm, Ogbourne Maisey,
near Marlborough. Although in 1990 no pictogram was exactly
repeated, here in 1991 an almost exact duplication was to be
seen. It was interesting to recall that in 1988 the first giant
quincunx (High Cross) formation near Silbury Hill had been
repeated exactly in the same field just nine days later.’
(Ref. 19)

THE
WORD OF THE SPOKESMAN

‘My
word I’ve proved, I’ve Ne’re been wrong.
Even to My Every Song.’

(Quoted
from a message received by Rita Gould, from Juno Dixhuit, dated
‘July End’ 1990)

While
revisiting a crop circle site at Kimpton in Wiltshire, on June
29th 1987, Colin Andrews experienced what could be called Divine
communication by other means (Ref. 10):

‘I stopped
about 10 meters from the eastern edge of the ring, facing the
small circle to the North and the other two in the distance and
thought, ‘God, if you would only give me a clue as to how
these are created.’ Moments later, without warning ‘a static
electrical cracking noise started to come from a spot about
three meters away.’ Increasing in volume, to a pitch where a
bang was expected, it suddenly stopped. Lasting for
approximately six seconds, nothing was seen, and nothing moved.
Colin Andrews, though shaken by the experience, had received a
reply. Had God answered, and was ‘Sound’, or sonic
energy, the clue?

About a
week after Rita recorded the Crop Circle sound in 1990, I awoke
abruptly one night with a powerful ‘urge’ to turn on the
television. It was about 3am. Upon checking the TV guide, ‘The
Radio Times’ first however, I immediately opened to a page
containing a photograph that simply ‘blew me away’. Above the
words ‘Capture the beauty of our landscape to the sound of
specially chosen music’ was a downward close up photograph
of bentwheat heads!

Fig. 13 A
Musical ‘Prompt’
Photo
Copyright
1990 The Radio Times

These
words, titling an image of bent wheat heads, started me thinking
about Crop Circle plant bending and sound. For more than ten
years I had treasured a book in my collection called ‘The
Secret Life Plants’, and knew of experiments conducted in
the 1960s that had demonstrated plant sensitivity and
responsiveness to sound, including bending either towards or
away from a particular sound source (Ref. 18).

Later that morning, I started researching sonic and ultrasonic
energy, and its effects,
for clues about how Crop Circles
might be formed, and while checking
a physics book (also in my collection for more than ten years),
I found adiagram depicting
‘The Interference of Sound
Waves’ reflected in a Crop Circle pictogram discovered weeks
earlier near Chilcomb, as a good place to start! (Fig. 8, top
right, & 9, & Ref. 27)

At the center of the diagram A are two bars representing
a vibrating tuning fork with its associated sound waves,
as viewed from above. B, E, C, D represent ‘lines of
minimum sound intensity’ created by the interference effects
of two sets of sound waves, compressed and rarefracted, leaving
one set half a wavelength in advance of the other. Where they
almost coincide a listener positioned along these lines would
experience almost complete silence (Fig. 9).

As if to doubly affirm the role that sound plays in the physics
of non-manmade crop circle creation, the Chilcomb pictogram,
symbolizing the effects of sonic energy, also appeared only a
few fields from where the first sophisticated Crop Circle
surveillance operation (Operation ‘White Crow’) was held the
previous June, and where a mysterious ‘trilling’ sound
was heard and recorded in association with the appearance of a
non-manmade Crop Circle formation! (Ref 8)

Amazingly, the Chilcomb formation depicted both the audible
and inaudible aspect of the interference of sound waves,
and by its inference the two types of sounds recorded inside
certain Crop Circle formations. It also beautifully symbolized
‘The Word’ (Ref. 1, ‘In the beginning was the Word’, and
the Word was with God, and the Word was God.’ John 1:1), by
combining in the form of a simple graphic one of the oldest
sacred symbols used by ancient cultures around the world to
represent the Sun and God (‘The Creator’, or ‘Creator God’); a
circle with a ‘dot’ at its center, represented in the Crop
Circle pictogram by the outer ring and the central circle, with
four ‘ring arcs’ or sound waves to symbolize The Word, and
Creation (in this case, non-manmade Crop Circle creation by The
Word)! (Fig. 14)

The
Chilcomb Crop Circle formation
opened my eyes to the metaphorical language of Crop Circle
design symbolism, and was the first pictogram I ‘deciphered’.
The following year I learned that professor Gerald S Hawkins had
discovered ‘musical ratios’ reflected in the mathematics
and geometry of certain Crop Circle formations, including the
Chilcomb pictogram!

Another formation, and affirmation, created in 1990 linking
non-manmade pictogram creation to Sound,
The Word, and the
Nine-ness of God, materialized on
a dry lakebed, East of Steens
Mountains, in Harney County, North of Alvord Desert, Oregon.
Discovered
on August 10th, it was the largest pictogram to have
appeared to date, consisting of 13.3 miles of lines,
each 10
inches wide, by 3 inches deep! (Fig. 15 &
Ref. 32 & 33).

Reflecting
the symbolism of ‘Indian’ tradition, it was an exact
representation
of an ancient sacred symbol of Creation known as the ‘Sri
Yantra’. Like a Mandala,
a Yantra is a geometrical
diagram used
to aid meditation, without depictions of Deities, or lettering.

The Sri
(“Great”) Yantra is considered to be the most potent of Yantras,
including in its design a square,
with four ‘Gates’, signifying
the four cardinal directions; concentric circles, two sets
surrounded by lotus petals (first eight, then sixteen),
traditional symbols of purity and harmony, and nine
intersecting triangles; four pointed downward,
symbolizing the female principle
of Creation (Sakti) and five pointed
upward, representing the male principle of Creation (Siva).

Combined the nine triangles spread like ripples, multiplying
into 42 triangular fragments around a central triangle (three
points). Adding to nine in numerology
(4 + 2 + 3), the image created also symbolizes the multiplicity
and interconnectedness of the manifest Universe, based on the
concept of Nine Archetypal forces (Ref. 4 & 9).

‘The Sri
Yantra has been used for centuries in the East, to represent the
visual equivalent of a Mantra; an ancient word or
formula to aid concentration in meditation when recited or sung.
It can also be generated as an exact sound wave pattern,
when passed through an electronic transmitter (Ref. 20).

SOUND
INTERFERENCE

In late
Autumn 1990 I watched a television documentary on BBC2 about‘Ultrasound’, and was astonished to see in one
demonstration: a candle flame (an ion plasma) bending 90
degrees to Ultrasonic frequencies! If Ultrasound could bend a
candle flame, I wondered, could it also bend a harder medium
like a living plant stem?

Turning to
the Encyclopedia Britannica I learned that ‘Ultrasound can be
aimed, focused and, reflected almost like light beams. Specific
frequencies can cause certain kinds of molecules to vibrate
while others are left unmoved.’ (Ref. 21)

One of
many experiments, exposing plants to music, conducted in
the 1960s, revealed overwhelming evidence that plants can
respond (feel and react) to sonic vibrations, by bending towards or away from the sound source:

‘She [Dorothy Rettallack] wondered how the plants would be
affected by more sophisticated music of both East and West. She
chose some Bach organ preludes and some classical Indian music
played on the sitar by Ravi Shankar. The plants gave
positive evidence of liking Bach since they had leaned an
unprecedented thirty- five degrees towards the preludes.
But even this affirmation was far exceeded by their reaction to
Shankar: in their straining to reach the source of the classical
Indian music they bent more than half way to the horizontal, at
angles of more than sixty degrees, the nearest one almost
embracing the loud-speaker.’
(Ref. 18)

In a
previous experiment:

‘The
squashes were hardly indifferent to the two musical forms: those
exposed to Haydn, Beethoven, Brahms, Schubert, and other
Eighteenth and Nineteenth century European music, grew
towards the transistor radio; one of them even twining itself
lovingly around it. The other squashes grewaway from the
rock broadcasts and even tried to climb the slippery walls of
their glass cage.’ (Ref. 18)

With the
plants preferring Classical sounds to rock music other
experiments were tried, including one, that exposed several
different plant species to the taped musical notes B and D,
struck on a piano every second, alternating every five minutes,
with five minutes of silence:

‘By the
end of the third week all the plants, some of which had been
actually leaning away from the source of the sound, as if
blown by a strong wind [sonic wind damage], had died
with the unaccountable exception of the African violets, which
some how remained outwardly unaffected.’ (Ref. 18)

As if to
illustrate these findings, it has been a characteristic feature
of many crop circle formations to have, in addition to bent
crop, hundreds or thousands of free standing undamaged
plant stems, and or different plant species inside the formation
unaffected by the circle making process.

Fig. 16 Undamaged Poppies Inside the Silbury Hill 1997
PictogramPhoto
Copyright 1997 Ed Sherwood/Millennium Research
At Laguna Canyon in 1996 a crop circle pictogram formed that was
clearly defined by selectiveplant bending. On
a steep construction embankment many species of native and
non-native Californian plants and weeds grew but only two
species were bent at 90 degrees in the characteristic fashion of
a non manmade formation: EnglishPlantain
and Wild Oats. Looking at the evidence on site, later
analyzed by Dr. W.C. Levengood (noted biophysicist and expert in
crop circle plant analysis) and authenticated, I wondered what
natural resonant frequencies might ‘select’ only two species
from so many scattered across the hillside (Ref. 34).

Another
interesting detail of the Laguna Canyon formation was an almost
totalabsence of plants within the pictograms design
features, as if the seeds in those areas had failed to
germinate. Dr. W.C. Levengood found no evidence of herbicides or
pesticides from the site. Instead of flattened crop, there was
bare undisturbed earth, containing a light scattering of
bent Plantain (more than 95% of the plants bent at Laguna Canyon
were English Plantain), and a few young shoots from plants that
were either unaffected by the circle making process, or had
spouted after the event (Ref. 34 & 36).

Dr. W.C.
Levengood has found from extensive plant sampling:

‘Crop
Circle energies affect the development of seed embryos: it
appears that when these energies hit plants prior to or during
certain stages of maturation the seeds do not develop,
and that when these energies cause formations in more mature
plants they may significantly enhance or increase
seed growth.’ (Ref. 35)

A handful of seeds collected by Kris from a pictogram that
appeared near Litchfield in 1995 (Fig. 9a), and planted the
following year, produced multiplestems and seed
heads off one main stem. One stem became four, while
another developed into six! It reminded me of an ancient species
of wheat I saw growing in the South of France in 1988, from
Egypt, that grows to a height of about six feet tall, and
produces seven wheat heads from one main stem. Just
think, if we knew the specific frequencies to duplicate this
effect, higher yields in smaller fields could feed the world,
and have less impact on the environment.

In the
mid-1960s Mary Measures & Pearl Weinberger, of Canada’s
University of Ottowa, found that ultrasonic frequencies greatly
affect the germination and growth of plant seeds and seedlings.
Recorded in the book ‘The Secret Life of Plants’; ‘their
experiments indicated, albeit inexplicably, that the enzyme
activity and respiration rates in plants and their
seeds increased when they were stimulated by ultrasonic
frequencies. Stored wheat exposed to high frequency waves for
insect control, for example, grew faster than unexposed
wheat when planted. However, the very frequencies which
stimulated some plant speciesinhibited others.’
(Ref. 18)

In early
June 1991 a crop circle formation appeared in wheat and wild
oats, just outside the town of Ilkeston in Derbyshire, leaving
behind tantalizing evidence of the effect of sound waves on
plant growth.

It was a
simple unconnected circle set formation, consisting of one
flattened central circle, approximately 50 feet wide; two
rings 9 feet in diameter, both two and a half feet thick,
18 feet from the edge of the larger circle, one on either
side; and one partially flattened circle, approximately six feet
in diameter, 16 feet from one of the rings.

Crossing
the largest circle was a line of standing wheat and wild oats
(as wide as the maximum width between two tractor lines), six
inches shorter inside the formation than outside.
The wheat standing inside the two rings, was also six inches
shorter and green in colour, unlike the rest of the field that
was a ripe yellow.

Judging by the difference in height between the plants I guessed
that the formation was about six weeks old. The farmer later
verified this. The field up to the boundary of the formation had
continued to grow, while the plants inside the formation had
remained green as if ‘frozen’ in their growth. The farmer,
amazed by the phenomenon, told me he had planted wild oats in
the tramlines (tractor lines) making them unwalkable, and that
he and his son had found the formation without tracks leading
into it.

The
centers of the main circle and the two rings were positioned in
a straight line, and aligned to a major leyline linking Arbor
Low (the Stonehenge of Derbyshire) to ancient sites in
Southern England. It also appeared within a few hundred feet of
an artificial lake and stream (Ref. 22 & 28).

There is
considerable evidence that water is a vital element in
the authentic circle making process, both above ground
(including airborne water in the form of Clouds, Mist, and Fog),
and/or below ground sources. Water has also been referenced in
authentic crop circle design symbolism since the early 1980s
(Ref. 28).

In early
1969 Dorothy Rettallack conducted a series of experiments to
check the findings of two Denver students that certain music
forms, particularly rock music, cause plants to lose
water at a higher rate:

‘Mrs
Rettallack found that, even during the first week, the
rock-stimulated plants were using much more water than the
classically entertained vegetation. ’Also, ‘The rock music
caused some of the plants at first to grow either abnormally
tall, and put out excessively small leaves, or remain stunted.’
After many experiments exposing plants to different music forms
Mrs Rettallack ‘determined that these different musical styles
markedly affected the evaporation rate of distilled water inside
the chambers. From full beakers, 14 to 17 milliliters evaporated
over a given time period in the silent chambers, 20 to 25
milliliters vaporized under the influence of Bach, Shankar and
jazz; but, with rock, the disappearance was 55 to 59 milliliters
(Ref. 18).’

Were sonic frequencies responsible for the stunted growth seen
at the Ilkeston formation, or the disappearance of approximately
20 tons of water from a rice paddy in Japan following a crop
circle event in 1986? (Ref. 10, 19, 28)

Dr. W.C.
Levengood commented after sampling English Plantain taken from
the Laguna Canyon formation:

“As we
have seen in the past, this degree of change in the cell wall
pit diameters indicates that the plants were exposed to a very
rapid, high heat input.” (Ref. 34, 36 & 28)

‘The
energies involved in crop circle formation induce nodal swelling
(think of a balloon being blown up), with expansion both
laterally and longitudinally, often creating blown nodes,
or “expulsion” cavities, in the nodes.’ Dr. W.C. Levengood
continues, ‘On the microscopic level, cell wall pit diameters in
bract tissue were observed to be significantly enlarged,
compared to controls; the wide range of pit size in the
formation plants suggests quite different levels of energy are
expended - at different sampling sites within formations and
perhaps in different formations.’ (Ref. 35)

The
different levels of energy referred to by Dr. W.C. Levengood
could be attributed to different sound frequencies. Stated in
the Encyclopedia Britannica under ‘Ultrasound’: ‘One specific
frequency can cause solder to vibrate, heat up, and melt
while only warming the metal being soldered.’

In 1960 a
botanist and agricultural researcher, George E. Smith,
experimented with maize and speculated that ‘sound energy might
increase molecular activity in the maize, and added that
thermometers placed in the plots indicated that soil temperature
was inexplicably two degrees higher directly in front of
the loud-speaker. He was perplexed that the edges of the leaves
of those corn plants growing in the slightly heated earth
appeared a little burned (Ed: like some Crop Circles) but
thought this might be due to excessive exposure to musical
vibrations.’ (Ref. 18)

Over
exposure to specific
frequencies could explain some of the more extreme effects
occasionally reported at some Crop Circle sites (in the
past known as UFO ‘nests’), such as charred plants, or nodes;
large volumes of missing water; baked earth, permanently altered
soil; discoloured, disfigured, or dead plants; and unusual
substances (Ref. 10 & 28).

Known for
its cooking effect, Microwave energy has also been
offered as an explanation for the internalheating
effects of crop circle formation plants and soil. However,
as yet, it has not been detected at crop circle sites. Sonic and
Ultrasound vibrations on the other hand have, and appear to be a
primary force in their creation. Ultrasound is even used in the
manufacturing industry to cook, which it does just like
microwave energy, by oscillatingwater molecules,
that in turn produce heat inside the item being cooked.

A RESONANT EFFECT

Close
eyewitness reports of circle formation invariably begin with the
crop (medium) rustling, as if in ‘resonance’.

‘Baffled
by their results, the two researchers (Mary Measures and Pearl
Weinberger) could not explain why audible sound had resulted in
accelerated growth so striking that it seemed to promise
double harvests. The effect could not have been produced by
breaking chemical bonds in the seeds, they wrote in the Canadian
Journal of Botany, since, to do this, one billion times
as much energy as was added by the sound frequencies would be
required. Instead, they suggested that sound waves might produce
a resonant effect in the plant cells, enabling the energy
to accumulate and effect the plant’s metabolism.’ (Ref.
18)

On August
1st 1992 a pictogram formed in wheat, near Froxfield in
Wiltshire, looking like a variation on the theme of a ‘Wind
Feather’: a meteorological symbol used to denote wind speed and
direction (Ref. 28). Its main ‘stem’ also created a silhouette
not unlike a sign of resonance (Fig. 17).

Interestingly, a small circle lay at a distance of 18.8m
from the corner of the implied Wind Feather, at a bearing of
36 degrees! (Ref. 38)

AT THE
TEMPLE MOUND

In the
Summer of 1997 I gave a talk entitled ‘Exploring
A Crop Circle Hologram’ to nine UK
audiences, including details about the 1992 Silbury Hill
pictogram, previously mentioned
(Fig. 18). Quoting from the opening sentence of St John’s
Gospel: ‘In the beginning was the Word’, I related
how the central symbol of this pictogram represented Atum;
the Sun on Earth; the Golden Dragon; the Spokesman of the
Nine; the Chilcomb formation, the trilling sound, and The
Word!

On July
27th 1997 I presented the same information
to members of the
Druid Order: ‘The British Circle of the Universal Bond’, based
in London, and learned afterwards from Peter Firebrace, a friend
and longstanding member of the Order, that he had
visited
China’s Forbidden
City in 1984, and a temple completely dedicated to the Nine
Dragons.

‘Tien
Tan’, The Temple of Heaven, was built in
1420 during the
18th year of the reign of Emperor Yong Le. It was here in
China’s Forbidden City that past emperors offered prayers to
heaven and the Nine Dragons for good harvests.

Ascending
the stairs of the ‘Circular Mound’, a unique structure of
Tien Tan,a visitor is continually reminded of the
ancient Chinese reverence of Nine Dragons (Fig. 19).

Fig. 19
Ascending One of the Four Directions of the Circular
Mound
Photograph
Copyright
1984 Peter Firebrace

Dedicated
entirely to Dragons (‘Lords of the Weather’, Ref. 13 & 28), and
specifically the Nine Dragons, the Circular Mound is an open-air
temple with no roof. Its central feature (Fig.6) is a
slightly bowl shaped pavement, divided into nine
concentric bands around a center, just wide enough to stand in.
For centuries only the head ‘Spokesman’ of China,
the Emperor, could stand at this spot, deliberately concave to
amplify the sound of his voice, as he addressed
the people of the Forbidden City.

By linking the center of the 1992 pictogram (Fig.1), and Silbury
Hill nearby, to the ‘Spokesplace’ of the Circular Mound
(the most revered spot in the Forbidden City), Peter Firebrace
provided confirmation, in my view, that the Spokesman of the
Nine and the physics of sound play a central role in authentic
crop circle creation.

THE
BALANCE

‘I am the
balance’ Tom said, symbolized by the positive and negative image
at the center of the Silbury Hill 1992 Crop Circle pictogram,
which looked like a variation on the theme of the Yin-Yang
circle (Fig. 21, center).

The
distinctive Eastern Yin-Yang circle is the primary symbol of
Taoist religious
and philosophical thought, based on the teachings of Lao Tse.
Symbolizing the
third principle; equilibrium, the Yin-Yang symbol depicts
the dynamic balance of two primary opposing forces in
Creation: Yin, the negative and passive power (depicted
in black, representing femininity); and Yang, the
positive and active power (depicted in white, signifying
masculinity). (Fig. 21)

Tao
teaches the concept of duality (Yin-Yang) in all
things, and that harmony can only be achieved when the two are
integrated in perfect balance. ‘The Yin-Yang circle symbolizes
this concept. Its equal areas of yin and yang are divided by a
sigmoid line (denoting dynamism) and are contained within a
circle of revolution and unity. A small circle of the opposite
colour is contained in each, signifying the seed of the other,
and therefore their interdependence (Fig. 21, & Ref. 9).’

The
Yin-Yang symbol is often depicted at the center of eight
trigrams, or the ‘Pa Kua’, used in Eastern divination and
representing the eight elemental forces of Nature arranged ‘like
the eight spokes of the Dharma Wheel’, and the eight design
symbols of the Silbury Hill 1992 pictogram (Fig. 21 & 3, & Ref.
8 & 9).

Amazingly, the design symbols of the Silbury Hill formation were
arranged to be read like the two traditional systems of the ‘Pa
Kua’; the Fu Hsi Arrangement reflecting the law of Polar
Reversal,andrepresenting the dynamic action
of opposites; and the King Wen Arrangement, symbolizing the law
of Periodicity, depicting cycles and rhythms in nature
suggesting constant transformation in all things.

The
trigrams of the Fu Hsi Arrangement and the Crop Circle symbols
of Fig. 3 are organized so that opposite ‘pairs’ (facing each
other) have opposite symbology.

The symbol
of the crescent Moon (Fig. 22) for example, has its pair and
opposite (Fig. 23) reflecting a triad of three Ley-line energy
points (or three ancient sacred sites) on the earth,
denoted by the three satellite circles, arranged like an
incomplete Celtic Cross, around a larger circle representing the
Earth, activated by the moon aligned opposite.

Positioned
between the ring connected crescent Moon and the Earth opposite
is the Sun Cross sign (Fig. 5), cross referencing and
representing, in this case, the bary center; the true
center, of the combined mass of the Earth/Moon system, ‘located
approx. 3/4 of the way out from the center of the Earth to its
surface’, around which both the moon and the center of the Earth
revolve (Ref. 37).

The
trigrams of the King Wen Arrangement are traditionally read in a
clockwise direction, like the symbols of the Great Turning, and
the process of an authentic crop circle event, as
illustrated near Silbury Hill, on August 18th 1992 (Fig. 3).

INFINITE INTELLIGENCE

Within the
design and meaning of the Yin-Yang symbol is also the sign of
Infinity, and another theme reflected in many non-manmade
formations.

‘Like
eternity they have no beginning they have no end,Round and Round Like Atom chain.’

Quoted
from a 1989 White Crow Message referring to crop circles.

A pictogram appeared in wheat, near West Overton Church, in
Wiltshire, on July 28th 1994, that was generally recognized to
be an ancient symbol for ‘Infinity’ (Fig.
24a). Measuring 135’ in diameter, or nine in numerology,
it references the ‘timeless’ and ‘spaceless’ dimension of the
Nine existing beyond the speed of light (Ref. 1, 2 & 3).

The
following year, also in wheat, a very similar, more geometric
looking formation appeared near Harewood Peak and Forest; South
East of Andover in Hampshire, on July 24th 1995 (Fig. 24b).
Looking more like a number ‘8’, it came to nine
when added to the circle containing it. In China 9, or
‘Jiu’ represents the
number of ‘Eternity’ (Ref. 9).

The
first pictogram of 1997 to form
in the CzechRepublic also reflected the sign of Infinity
(the ‘Infinite Intelligence’). Reported to be some 18m
long, it was discovered in grass, at Ceska Lipa, near Mimon,
around April 23rd on military land.

YOU WILL KNOW THEM BY THEIR WORKS

Between
1994 and 1996 nine authentic pictograms clearly reflected the
Nine as one of their mutual layers of design meaning
(Fig. 25):

Symbolizing the impact effect of twenty one comet fragments,
represented by twenty one semi-circular arcs; the shock waves or
sound waves and resonant effect of the Shoemaker/Levy
9 Comet collision into Jupiter’satmosphere the
previous Summer, a pictogram formed in wheat at Litchfield in
Hampshire on July 7th 1995, containing nine primary
design elements: one large undulating ‘ring’, in this case an
‘open ring’, measuring 267 feet in diameter, representing the
point of impact (atomization), surrounding seven thin concentric
rings; and a small circle at the center (Fig. 25a). In a series
of non-manmade Crop Circle formations in 1994 Jupiter was
symbolized by a large wide ring, and the Comet, by
descending sized circles (Fig. 25g), now within Jupiter
(Fig. 25a & Ref. 29).

After
sampling the Litchfield pictogram Dr. W.C. Levengood reported
evidence ‘of a massive“spill over” of the radiation
damage effects into the standingnormal appearing
crop.’ (Ref. 41) Perhaps this too was a sign: an invisible biophysical sign that the Litchfield pictogram not only
symbolized a massive planetary impact event, but was also the
‘effect’ of one.

Measuring
approximately 100ft in diameter, the last major pictogram to
form in the Wiltshire/Hampshire region, in 1995 occurred
sometime in late July, early August, near East Meon, in wheat.
Drawing our attention to the ‘Physical’ and ‘Spiritual’ Sun: a
modern ‘Solar motif’ and sign of the Nine, its meaning was
simple and subtle (Fig. 25b):

The
Physical Sun: A
standard model for the sun, divides the star into three
concentric zones: the Core, the region where
thermonuclear reactions occur, represented by the central
circle; the Radiative Zone, where heat is transported by
photons, symbolized by a ‘rotating’ radiation symbol; and the
Convective Zone, where the sun’s energy is mainly
transferred by convection, represented by six spiraling arms.

The thin
ring or outer circle signifies the sun’s Corona; the
outermost envelope of the sun, described as a ‘halo’ during a
total eclipse. The circle within the halo, represents the
Photoshpere;the visible disk of the sun, below
which, the sun’s dynamics and zones are invisible, and thus
contained by the circle (Ref. 15).

In keeping
with the Nine communications, the Nine were symbolized ‘Beyond
the Sun’, or beyond the photosphere, as nine rotating arms, or
three initial ‘radiations’, followed by six. Tom said
‘When you go over nine (counting the halo) it cancels, it
becomes one, and nine is complete’ (Ref. 3).

The
Spiritual Sun: Out
from the center forms the first triad of ‘Creation’; Atum, Shu,
and Tefnut. The three’ elements together in balance (equally
spaced), also symbolize ‘one pure being’, such as Christ,
or Buddha. Add this one (or ‘collective’), to the six
spiraling arms, and you have seven. Add the seven to the circle
and ring containing them, and you have nine!

A
pictogram containing nine primary design elements: one
center circle, four concentric rings, and four spiraling ‘arms’,
was discovered May 31st 1995, approximately half a mile from the
ancient “Long Man of Wilmington”: the largest representation of
the human figure in Western Europe, N.E. of Alfriston in East
Sussex (Fig. 25c).

Reflecting
‘Cosmic Forces’ or ‘Galactic Oscillation and Rotation’,
it spanned approximately 250 feet in diameter and was the
largest formation to appear in Sussex up to that date.

Dr. W.C.
Levengood found evidence of plant node expansion from this
formation as much as 90% beyond control samples from the
same field: “The patterns of node expansion in the downed and
upright plants clearly indicate a formation produced by very
energetic plasma vortex processes which quite obviously are
spatially confined to the regions outlined by the downed plants
(Ref. 39).” Countless undamaged standing stems and rows of
stalks along the tramlines were also reported at the site (Ref.
25).

A
pictogram formed on Stockbridge Down near Whitchurch in
Hampshire in barley, on July 21st 1995, approximately 60 feet in
diameter, symbolizing the Nine by eight small equally spaced
circles around a thin ring: the ninth circle, and arc: a
symbol of completeness from the center of a spiral, and
geometric design feature which, as Dr. W.C. Levengood comments
in a BLT Lab report: ‘mathematically follows a model of
non-linear ion acoustic shock-wave collisions in an
ion-electron plasma’ (Fig. 25d & Ref. 41).

Looking
very Yin/Yang, with eight primary design symbols around a thin
ring, like the 1992 Silbury Hill pictogram (Fig. 3), the
positive and negative image of the Stockbridge Down
formation also reflects the sign of The Great Turning: the eight
points and areas of the Dharma Wheel sign symbolizing eight
states or ‘levels’ of Consciousness: the ‘steps’ in a process to
reach the ninth at the center, identified with the Godhead;
and the Spokesman of the Nine;

Peter
Sorensen, Crop Circle Videographer & Silhouette artist also
commented on the Stockbridge Down formation: ‘This novel
formation occurred in an area where some years earlier an
elderly couple had seen lights in the sky “Like a Ferris
Wheel”, with eight lights around a thin ring’!

The Nine
have often reflected in authentic crop circle design, or
phenomena connected with the appearance of an authentic
pictogram, something about the location of the formation that
associates it to that particular place or area.

For
example, on July 29th 1996 in a wheat field near Avebury in
Wiltshire, an authentic pictogram looking like a giant ‘Pinwheel’
formed at a place called Windmill Hill.

Another
wheat field, below the ancient hill fort of Barbury Castle near
Swindon in Wiltshire, received a massive pictogram during the
early hours of July 17th 1991, and “a thunderous rumbling like a
hundred aeroplanes” above the hill. Shaken by the
experience a local resident, the warden of Barbury Castle,
familiar with the sound of low flying airplanes, reported that
the ‘sound’ lasted for a few minutes and then abruptly stopped
(Fig. 26 & Ref. 19).

The Nine I
suspect, like a noisy ‘poltergeist’, reflecting back an aspect
of the psychokinetic energy of the ‘place’, heavily associated
with airplanes with an old aerodrome nearby, and RAF Lyneham, an
active airbase, a few miles away, wanted to make sure they were
heard.

The
Barbury Castle formation contained nine primary design
symbols: a central circle and two concentric rings; three
triangles forming a giant equilateral triangle with sides
approximately 180 feet long;
and three different circular design symbols, including one with
six spiraling arcs set at 90 degrees to each other, like
the Stockbridge Down ‘ratchet’, measuring exactly 333
feet long
and another 9 in numerology
(Fig. 26 & Ref. 19).

Measuring
approximately 192 feet in diameter the Knoll Down pictogram is
to
this date, the largest and finest ringed
spiral formation on record. Forming between Beckhampton and
Cherhill in Wiltshire, in young barley, on May 29th 1995, the
outer ring contained thousands of single standing stalks that
were clearly unaffected, or perhaps unselected, by the
circle creating Source (Fig. 25e).

Its design
symbolism reflected the Nine as nine circle elements,
including and contained within an ancient sign for the Sun
(and God): a ring with a point at its center, represented in the
formation by its striking center circle and outer ring (Ref. 11
& 28).

Illustrating
the Spokesman of the Nine; the Word; and the fact that sound
waves can be focused, a pictogram appeared in wheat
on Cow Down, South of Andover in Hampshire, on June 18th
1995, approximately 250 feet in diameter, reflecting the
Nine as nine equally spaced ‘ripples’, with three
concentric rings, representing the triad of Creation (the
Word), including the center circle, and an overall image
strikingly similar to one on the facing cover of a book
(in my collection for many years) entitled: ‘Echoesof Bats and Men’, by Donald R. Griffin (Fig. 25f
& 27).

Interestingly, about a week after the pictogram formed a compass
deviation of as much as 90 degrees was reported inside
the central ring.

Reflecting
the approach of the Shoemaker/Levy 9 Comet with Jupiter,
a pictogram formed near Moulsford in Hampshire on July 17th
1994, containing ninecircle design elements:
eight descending sized circles representing the Comet fragments,
and a large ring symbolizing Jupiter (Fig. 25g).

Kris
discovered that the symbol of the crescent moon, referred to the
path and position of the moon passing between the Constellation
of Scorpio, stated and implied in many of the authentic 1994
‘Comet Collision’ formations;
the advancing Comet; and Jupiter, all visible in
the night sky at the time (Ref. 29).

Appearing
in wheat on August 8th 1994 and reflecting nine circle
design elements: seven standing rings within a flattened central
circle contained by a larger ring; making nine, the Froxfield
pictogram symbolized an effect, known as ‘The Jupiter Effect’,
or Solar Oscillation; the primary cause of the 1990 higher than
usual peak number of Sunspots (electromagnetic ‘rings’ on
the photosphere, or visible disk of the Sun, represented at
Froxfield within the Sun’s Corona, or thin ring), occurring
alongside the most prolific authentic crop circle season on
record. Like Jupiter, the Sun can also ‘capture’ Comets and
receive impacts, depicted at Froxfield as seven rings within the
center of the Sun symbol (Fig. 25h & Ref. 37 & 29).

Discovered
on August 14th 1996, a pictogram formed near the Long Barrow
of Wayland Smithy in Oxfordshire, reflecting two astrophysical
phenomena: ‘The String of Pearls’; the name given to the
Shoemaker/Levy 9 Comet, broken up into fragments by Jupiter’s
massive gravity, symbolized by nine circles on a thin
‘string’; and ‘Baily’s Beads’, ‘At the moment of totality
(of a total Solar eclipse) the disappearing crescent of the sun
(doubling as the thin string) breaks up into a number of glowing
points’, in this case nine circles of flattened crop (Fig. 25i &
Ref. 15).

This
article is excerpted from a larger work in progress. It may be
copied and distributed for informational purposes only. Under no
circumstances should it be published anywhere, or for monetary
gain, without written permission from the author. Copyright June
1998 Ed Sherwood/Millennium Research.
All Rights Reserved.